Baltimore Sun's Scores

  • Movies
  • TV
For 2,000 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Monty Python and the Holy Grail (re-release)
Lowest review score: 0 Margot at the Wedding
Score distribution:
2,000 movie reviews
  1. Quick and lowdown-delightful. It's also a graveyard or two up in class from the torture films that, in recent years, have redefined horror for the worse.
  2. As the film opens with, predictably, "Vertigo" and its "Hello, Hello" refrain, it's his steady presence and unforced charisma that anchors each performance, allowing Bono to emote for all he's worth.
  3. If Kill Bill Vol. 1 was bloody exhilarating, Vol. 2 is bloody great. And, as a bonus, not nearly so bloody.
  4. In the end, this is a movie that doesn't respect its own power. Less of a stacked deck would have left Vera Drake to play a far more effective hand.
  5. Cache is the feel-guilty movie of the new millennium.
  6. The picture has immediacy, force and humanity. It's a muckraking work of art.
  7. What emerges is a fallen warrior's tale: the inside story of a man bloodied and bowed.
  8. Enraging and inspiring. It boasts the miraculous quality of finding a letter in a bottle and discovering that its authors are alive.
  9. The impact is hypnotic.
  10. Isn't a noble story, or even a cautionary one: It just feels pretty painfully real.
  11. Venus is a magnificent tribute to actors by filmmakers who know they are the essential human material of theater and the screen.
  12. In its own quiet, voluptuous way, Rivers and Tides, an unpretentiously brilliant documentary, uses the work of Scottish sculptor Andy Goldsworthy to open up the hidden drama of the natural universe.
  13. The title Tell No One recalls the days when ads proclaimed, "No one will be seated after the first 15 minutes" and "Be considerate of your neighbors: Don't give away the ending of this picture." Both rules apply to this canny, refreshingly emotional and intuitive thriller.
  14. The movie grows richer as it goes along and contrasting pieces click together.
  15. A thriller from the inside out, a romance from the outside in: that's the double-edged brilliance of The Constant Gardener.
  16. Sugar is a near-great movie with qualities more unusual than some all-time classics. It resists cliche at every turn and puts something solid in its place: raw yet controlled observation that gives the film the form of a flexing muscle.
  17. Takes a chaotic moment in the long history of "the Troubles" and turns it into a keening, air-clearing epic.
  18. Director Joe Wright's new movie version of Pride and Prejudice is more Gene Kelly than Fred Astaire: more earthy and athletic than balletic.
  19. Watching this movie, you can dream with open eyes.
  20. Bitterly funny about divorce, it's even sharper and more original about intellectuals and their discontent.
  21. Like the particular brand of music Dewey espouses, this is a movie more concerned with exploiting rock than understanding it.
  22. Making you feel the presence of absences - of the distant and the departed, of dreams that never quite come true - is the key thing that this uneven film gets exactly right.
  23. The Prisoner of Azkaban is to Harry Potter what that other No. 3, "Goldfinger," was to James Bond: the movie that takes the invention and gamesmanship of the series to a whole new giddy peak.
    • 82 Metascore
    • 75 Critic Score
    La Promesse...presents an unflinching view of the victimization of vulnerable people, but the center of the film is not the immigrant experience. It is the portrayal of a father-son relationship and that turning point where a child must choose between a loved parent and his own sense of morality.
  24. That's the problem of Downfall in a nutshell: It provokes insufficient emotional and intellectual responses to a grotesque and atrocious dictatorship. Instead of the banality of evil, it gives us the banality of banality.
  25. Most contemporary horror films derive shocks from mere torture. Let the Right One In locates most of its fright-power in the needs and confusions of people who are usually overlooked.
  26. It is, at once, among the most riveting and hard-to-watch documentaries of recent years.
  27. This audacious hybrid of cinematic styles is pure entertainment.
  28. For audiences, two things keep the tension from becoming too excruciating: the presence of the survivors in front of us and the knowledge that in the grip of Macdonald's humane, lucid filmmaking, we're in the best of hands.
  29. As a documentary, The Agronomist, in its excitingly fractured, modern manner, does what Lawrence of Arabia and The Leopard do: It traces the upheaval of a civilization in the profile of a magnificent individual. It's a 90-minute nonfiction film with the impact and the greatness of an epic.

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